Drawing is an intentional choice and a need that I observe in myself. It delineates unprocessed thought into a language of its own making, creating a dialect woven with mark making. I use this mark to draw a line throughout memory and interlocking phenomenological plains. This introduces the thresholds of the eerie into an image. Drawings form archeological explorations through the surface of the paper, recovering space in which the recognised coincides with what is now gone, requiring the liminal to interpret, rather than understand.
This currently results in large drawings, spanning walls to pace the length of the space. They are more like installations, with the memory of a place meeting the physical boundaries of the space they are made in. More recently, bodies have begun to populate the vast spaces. This collaboration and exploration gives me a great sense of clarity within the chaos, as I Draw to feel the visceral touch of the undercurrents of the surroundings.
The constant shift in this investigative work means I am perpetually reflecting on what Drawing is, implies, and articulates, resulting in my frequent return to Catrin Webster’s definition: “A drawing is a thought and an object. It coexists in both spaces - as a concept and as physical material.” This conversation of what Drawing is, in a 21st-century context is constantly evolving and developing. It’s a parlance that demands a setting, as line making is re-imagined and revalued. The intimacy and process of graphite are stifling, as it allows context, narrative, and emotion to ruminate. I often grapple with the difference of image-making in comparison to Drawing, as one creates a visualisation and the other something innate.
